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20130103
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. shakespeare's great rival ben johnson wrote of him, he was not of an age, but for all time. laurence olivier once called him the nearest thing in incarnation to the eye of god. william shakespeare was born in 1564 in the small pro vention english town of statford upon avon. he moved to london in the late 1580s and in a remarkably short period of time became perhaps the greatest playwright of all time. the names speak for themselves. hamleting king lear, othello, macbeth, romeo and juliet. these plays have been passed down through generations. they dazzle us with an appeal that transcends time and culture. tonight in our first episode with the charlry rose shakespeare series we start with conversations on the greatness and the enigma. we'll talk to the director of the new york public theatre, barbara gainse, director of the chicago shakespeare theatre and hear from some others from previous appearances on our program. they include shakespeare scholar steven greenblatt and harold bloom, also the director of the royal shakespeare company michael boyd. we then conclude our evening looking at ham
people. ben johnson, shakespeare and so on. he became a great director too. that's the... perhaps the most surprising thing to me is that he became a brilliant director and sought to raise the whole status of the stage in his productions. he was quite obsessed by it. he did a little amateur production about a week before he died with full energy though he was incredibly frail. he said to a friend, i should have run a national theater. that's what i should have done with my life. >> charlie: (laughing) did it impact his writing? >> in fact... charlie: simon. his writing is a performance. charlie: exactly. you feel more than you do with any other great writer in the presence of the author you feel him doing it for you, wanting your admiration for the virs yosity of the different voices that he employs. even the passages are like great arias. it's all a performance. >> his daughter reported that she saw him standing in front of a mirror and acting something out. he asked her about it. he gave her a very interesting answer. he said, well, if you asked someone to list the ways in which
painting. in the beginning i always made the grid the same. >> rose: 20. >> yesinhe benning i started with -- i made all the decisions of -- big decisions about what the whole thing was going to be so the spots are equal to the gap between the spots, no two colors are the same and i think this is the first one where i just turn the grid 90 degrees and you get like the grid's off center. >> rose: speak to this idea that an artist needs to get the public's attention. >> i always think that you have to get people listening to you before you can change their minds. i suppose when i came into -- my idea originally was, you know, i'm just going to pai d i'm going to put the paintings in the corner of the studio and if i get discovered great and if i don't maybe i'll be lucky and they'll discover it after i'm dead. >> rose: a kind of van gogh thing. >> i suppose. then you look at the world and you think that's not what the world's about. at my art school in london they just said "you need an audience." we worked it out. all you have to do is get a white building -- a building, paint it white
Search Results 0 to 11 of about 12 (some duplicates have been removed)

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